is the new home of my blog. Please update your link to www.tangopilgrim.com.
The past weekend was tango inspiring. Some tango friends were in town. So I got to dance three nights of good tango in a row. I had experienced tango high again. Thank tango god. :-) I had some tango conversations/debates over dinner. I got the chance to practice following for a couple of hours. And of course NOW I am having quite a few thoughts that I want to share.
But first I have to sort out some technical matters with the new site.
Thank you all for reading my little blog for the past two and half years. You might no agree with some of the posts I wrote but I appreciate your candid comments. I have met dancers around the world who told me they liked (or loved) my blog. And I am sure there are readers out there who are sneering at what I've posted. The great thing about tango is that it is multilayered.
So here is my last post on blogger, just about two years from my first trip to Buenos Aires. In retrospect, I feel blessed in my tango journey. I've changed some, but my idea of tango is still the same:
Tango is a feeling in the music, the embrace and the sound of breaths.
Monday, November 30, 2009
Thursday, November 19, 2009
Tango Music Collection
I am sorting out my music library and putting it on this blog by orchestra under label "tango music collection", with reference links to eng.tango.info and todotango.com.
Music has always been my inspiration to dance tango. Even though I've been dancing much less these days, the love for the music still keeps me here.
I am expanding my library on the weekly basis. So check back from time to time. I will try to post some of my favorite tandas under individual orchestras as well.
Tuesday, November 17, 2009
La tupungatina
This is one of my favorite Pugliese instrumentale. Interestingly, there are two different versions of this song, learned first from Royce. You can read here.
The shorter version is 3.55 minutes long, I think, which could be found on BTAC Collecion Revista Vol. 01. - Osvaldo Pugliese y su orquesta - Años '52 / '53. The more commonly available version is 4.06 minutes long from Reliquias' Cantan Alberto Morán y Roberto Chanel.
I like Fabian Peralta y Virginia Pandolfi's performance the best. I like Peralta's recent performance seen on youtube. There is more subtlety in his movement and less flashy. I really enjoy the musicality these two have expressed. And how they walked to the music.
Perfect example of how Pugliese is danced in the milonga setting. Simple, smooth yet musical. Less is more, and it seems so effortless.
Both of them are amazing dancers. I love the way Tate dancing socially in the milonga. Here, however, since they are not regular partners, the performance lacks of chemistry, despite occasional demonstration of individual brilliance.
Pay attention the pauses in all these performances in didactic context. It is interesting to see how each selected which phrases to dance and where in the music to pause. For me, the first two performances,even while the dancers were pausing, the intention still carried the music. So the both performances felt uninterrupted, smooth and flowing to the music. The third one, the pauses interrupted the flow of the whole dance, therefore the music choppy.
The shorter version is 3.55 minutes long, I think, which could be found on BTAC Collecion Revista Vol. 01. - Osvaldo Pugliese y su orquesta - Años '52 / '53. The more commonly available version is 4.06 minutes long from Reliquias' Cantan Alberto Morán y Roberto Chanel.
I like Fabian Peralta y Virginia Pandolfi's performance the best. I like Peralta's recent performance seen on youtube. There is more subtlety in his movement and less flashy. I really enjoy the musicality these two have expressed. And how they walked to the music.
Perfect example of how Pugliese is danced in the milonga setting. Simple, smooth yet musical. Less is more, and it seems so effortless.
Both of them are amazing dancers. I love the way Tate dancing socially in the milonga. Here, however, since they are not regular partners, the performance lacks of chemistry, despite occasional demonstration of individual brilliance.
Pay attention the pauses in all these performances in didactic context. It is interesting to see how each selected which phrases to dance and where in the music to pause. For me, the first two performances,even while the dancers were pausing, the intention still carried the music. So the both performances felt uninterrupted, smooth and flowing to the music. The third one, the pauses interrupted the flow of the whole dance, therefore the music choppy.
Thursday, November 5, 2009
Tango is internal.
I used to be puzzled yet at the same time fascinated by some of my close tanguera friends' tango experiences. How certain men would make them feel...using their own words: "opening up like a flower", "that he knows every inch of my body"... or simply "orgasmic". I felt jealous when I listened to these tales.
Just about one year after I started dancing in the milongas, I had already received compliments. Women told me sincerely how beautiful my various partners and I looked together. Some men, who had danced for a longer time, pat me on the shoulder and said that they were going to steal a few moves from me. I knew that I could make women look beautiful dancing with me and make most of them dreaming in my embrace. Everyone told me I was a good dancer, but I wanted to be the best.
When I was not dancing in the milonga, I liked to just sit and observe. I paid attention to how people move and what expressions they wore on their face. And I observed a couple of said men dancing. At first, I felt unjustified.
There was this man, who a friend of mine said that she would go to a milonga just to hope to have a tanda with him. I looked at him barely dancing and questioned " his movement doesn't have music. "
"Oh... he is so musical."
I don't understand women... I have twice better posture and movement than this guy. My walk is much more elegant. I definitely dance better than this guy. Hmmm!!!
There is this instructor from BsAs. The first time I saw him dancing. I thought to myself " What's the deal?"
He didn't move much. The woman in his embrace wasn't what you would call dancing either, movement was sporadic. Yet the expression of the woman's face was intriguing: eyes closed, small beads of sweat falling through their pink cheeks. A lot of women were thrilled to dance with him. According to some, dancing with him was a tangasmic experience.
I believed the first hand accounts of my friends. But I didn't understand or start to understand till this post.
Shortly after, one summer night, I was at this outdoor milonga. The night was beautiful. The music was alternative, a beautiful guitar piece by Chris Spheeris. I took this tanguera friend's hand and embraced her. She was on her platform sandal, and I my flip flop. The floor was uneven wood plank. We didn't dance the way we used to dance. I didn't even lead ocho. We just embraced and breathed together. Walked slowly, one step then another...
She told me after that she hadn't felt this way for a long time.
Me neither... I finally start to get it:
Tango is internal.
We really don't need to do all these movement to connect with the other. Sacada, volcada, boleo, open embrace, fluid embrace...etc these are all external, like how many different positions does a couple have to do in order to achieve orgasm? Or does one have to do a series of movements in order to reach the deepest and most tranquil state in meditation?
I like what maestro Juan Carlos Copes said:
Just about one year after I started dancing in the milongas, I had already received compliments. Women told me sincerely how beautiful my various partners and I looked together. Some men, who had danced for a longer time, pat me on the shoulder and said that they were going to steal a few moves from me. I knew that I could make women look beautiful dancing with me and make most of them dreaming in my embrace. Everyone told me I was a good dancer, but I wanted to be the best.
When I was not dancing in the milonga, I liked to just sit and observe. I paid attention to how people move and what expressions they wore on their face. And I observed a couple of said men dancing. At first, I felt unjustified.
There was this man, who a friend of mine said that she would go to a milonga just to hope to have a tanda with him. I looked at him barely dancing and questioned " his movement doesn't have music. "
"Oh... he is so musical."
I don't understand women... I have twice better posture and movement than this guy. My walk is much more elegant. I definitely dance better than this guy. Hmmm!!!
There is this instructor from BsAs. The first time I saw him dancing. I thought to myself " What's the deal?"
He didn't move much. The woman in his embrace wasn't what you would call dancing either, movement was sporadic. Yet the expression of the woman's face was intriguing: eyes closed, small beads of sweat falling through their pink cheeks. A lot of women were thrilled to dance with him. According to some, dancing with him was a tangasmic experience.
I believed the first hand accounts of my friends. But I didn't understand or start to understand till this post.
Shortly after, one summer night, I was at this outdoor milonga. The night was beautiful. The music was alternative, a beautiful guitar piece by Chris Spheeris. I took this tanguera friend's hand and embraced her. She was on her platform sandal, and I my flip flop. The floor was uneven wood plank. We didn't dance the way we used to dance. I didn't even lead ocho. We just embraced and breathed together. Walked slowly, one step then another...
She told me after that she hadn't felt this way for a long time.
Me neither... I finally start to get it:
Tango is internal.
We really don't need to do all these movement to connect with the other. Sacada, volcada, boleo, open embrace, fluid embrace...etc these are all external, like how many different positions does a couple have to do in order to achieve orgasm? Or does one have to do a series of movements in order to reach the deepest and most tranquil state in meditation?
I like what maestro Juan Carlos Copes said:
Lo más difícil del tango es hacerlo fáci
Lo más difícil del tango es caminarlo.
Lo más difícil del tango es sentirlo y demostrar lo que se siente.
Algo muy distinto que bailar para los demás.
El tango se lo baila para uno…
(first read it here)
Lo más difícil del tango es caminarlo.
Lo más difícil del tango es sentirlo y demostrar lo que se siente.
Algo muy distinto que bailar para los demás.
El tango se lo baila para uno…
(first read it here)
although it took a few years for me to understand.
Friday, October 30, 2009
Open or Close?
I was djing at this milonga and playing a nice tanda of Calo con Beron. One of the guys who has been dancing for a couple of years asked one of the local teachers to dance. She was a dynamic dancer who has danced and performed with some of the biggest names in Tango. She gracefully accepted the invitation and embraced him. This guy, whom I know, danced decently. He walked with the music and did slow giros. Slowly the teacher closed her eyes...
All of sudden, he decided to open up the embrace and started performing some forever tango stunts, which was clearly beyond his physical capability. Looking at the expression of her stern face, trying to dance to his lead, I shook my head: this guys hadn't figured it out yet. He hadn't found his tango.
A couple of weeks later, at the same milonga I was dancing with a beautiful young woman from out of town. She had a decent embrace, dancing quite nicely. Our cheeks were touched. I was breathing smoothly, and I could hear her breathing. A moment of tranquility...
That lasted only less than two minutes, she went in and out and danced close to open afterward. The whole tanda, except the first two minutes, I had to figure how to dance with her. It was like trying to sleep, but constantly being waken up. I hadn't asked her to dance again, although she was very beautiful young woman.
I have paid attention to how good teachers, dancers and performers dancing socially in the milongas. Most of them don't break the embrace and do the amazing things that they do in the performances. Most of them dance very calmly, one step at a time. The ones who are moving like chicken without a head, showing everything they have learned yet mastered on the floor are the clueless wannabes.
There are nothing, in my opinion, that one wants to express in the music or communicate with partner, that one couldn't do it within the embrace. You could, however, find a lot of things missing in the open embrace.
Monday, October 26, 2009
Don't follow me
I said to a young woman, whom had danced only six months but seemed to be a natural tanguera with warm embrace, at a practica.
"I don't follow you?" She was surprised, not surprisingly from anyone whom had been taught to follow the "leader"/men from the first class.
"Follow the music and your own body." I smiled, hoping that she would somehow catch the idea, not turning into one of the many women whom just try to follow the movements of the men. I then showed her what I meant, briefly.
It could be overwhelming, this information. It took me almost two years, from Javier's lesson of "being selfish" to my turning point discovery of "the most important dance...", to start dancing without first thinking about how to lead.
Tango is not about leading and following.
If you think of tango as a conversation between the two, then leading and following is like reading from the script. If you think of tango as a dance of improvisation, then leading and following is like choreographed. If you think of tango as man showing the beauty of the woman, then the woman has to know how to shine when the opportunity arises.
The experience of dancing with a woman whom just follow, regardless how impeccable her technique is, is utterly uninspiring. And vice versa (Marite's response at the end of the post).
"I don't follow you?" She was surprised, not surprisingly from anyone whom had been taught to follow the "leader"/men from the first class.
"Follow the music and your own body." I smiled, hoping that she would somehow catch the idea, not turning into one of the many women whom just try to follow the movements of the men. I then showed her what I meant, briefly.
It could be overwhelming, this information. It took me almost two years, from Javier's lesson of "being selfish" to my turning point discovery of "the most important dance...", to start dancing without first thinking about how to lead.
Tango is not about leading and following.
If you think of tango as a conversation between the two, then leading and following is like reading from the script. If you think of tango as a dance of improvisation, then leading and following is like choreographed. If you think of tango as man showing the beauty of the woman, then the woman has to know how to shine when the opportunity arises.
The experience of dancing with a woman whom just follow, regardless how impeccable her technique is, is utterly uninspiring. And vice versa (Marite's response at the end of the post).
Friday, October 9, 2009
Giving and receiving
Simba's post "important difference" echoed a sentiment that I've been having: I like to receive as much as I give in tango.
According to my tanguera friend, whom had a few conversations with our teacher at Tangocamp and in BsAs, his philosophy is to give love to all regardless if you expect it to be returned or not. you are there to please the other person. I like that idea, and always follow it reasonably well. And on the blogsphere, there are good amount of posts about how a man should take good care of woman and give a good time to the woman in the dance.
But how about us, the man? What gives us the pleasure of tango? What kind of woman gives us the "ah..." at the end of song, the heart rate that equals to 30 minutes on the treadmill, or in my case, an tangorgasmic experience that I had to hold my tears?
I had a few conversations with my fellow tangueros (the ones whom are popular in the milongas). Yes, men talk too. :-) The most we talk about: a woman's embrace...
The first time I came back from Buenos Aires, I ranted about the change of embrace on this side of the world; distant, somewhat cold (or nervous) and unnatural as oppose to warm and comfy. It has been close to two years since my first trip back and I have been dancing with hundreds of different women. The more I dance, the more I realize that embrace is as much about technique as attitude; much less to do with experience. Tina has this post that has been always inspiring.
Some of the warmest and most comfy embrace I have experienced were from women had danced just a few months to less than three years. And it is not about particular group of women. The Asian, European and North American can embrace just as well as the Portenas. Some portena's embrace can feel cold and stiff. Again, part technique, mostly attitude.
The attitude of giving. The attitude of pleasing the other person.
Sometimes one has to give in order to receive.
According to my tanguera friend, whom had a few conversations with our teacher at Tangocamp and in BsAs, his philosophy is to give love to all regardless if you expect it to be returned or not. you are there to please the other person. I like that idea, and always follow it reasonably well. And on the blogsphere, there are good amount of posts about how a man should take good care of woman and give a good time to the woman in the dance.
But how about us, the man? What gives us the pleasure of tango? What kind of woman gives us the "ah..." at the end of song, the heart rate that equals to 30 minutes on the treadmill, or in my case, an tangorgasmic experience that I had to hold my tears?
I had a few conversations with my fellow tangueros (the ones whom are popular in the milongas). Yes, men talk too. :-) The most we talk about: a woman's embrace...
The first time I came back from Buenos Aires, I ranted about the change of embrace on this side of the world; distant, somewhat cold (or nervous) and unnatural as oppose to warm and comfy. It has been close to two years since my first trip back and I have been dancing with hundreds of different women. The more I dance, the more I realize that embrace is as much about technique as attitude; much less to do with experience. Tina has this post that has been always inspiring.
Some of the warmest and most comfy embrace I have experienced were from women had danced just a few months to less than three years. And it is not about particular group of women. The Asian, European and North American can embrace just as well as the Portenas. Some portena's embrace can feel cold and stiff. Again, part technique, mostly attitude.
The attitude of giving. The attitude of pleasing the other person.
Sometimes one has to give in order to receive.
Sunday, October 4, 2009
Royce's tango music posts
Thanks to Royce's recent music posts, my check amounting balance has just decreased triple digits. But seriously, anyone serious about tango music should check out her latest posts.
Here is her blog. Enjoy, and watch your wallet. :-)
BTW. The joy of listening to good tango music is... PRICELESS.
Here is her blog. Enjoy, and watch your wallet. :-)
BTW. The joy of listening to good tango music is... PRICELESS.
Sunday, September 27, 2009
La Melodia del Corazon
La Melodia del Corazon, the tango derivative of Etude by Chopin, by Donato con Gavio and Canaro con Amor. The Donato version is mostly played during performance. I am not a huge fan of Canaro, except his milongas. I did make a Canaro Con Amor tanda with this song as the last one and played it last week at a practica. It was quite nice actually.
A more modern rendition, they were like two butterflies floating on the floor.
A more modern rendition, they were like two butterflies floating on the floor.
Friday, September 25, 2009
Crash
The unpleasant aftereffect of an orgasmic tango experience is the inevitable crash, the emptiness that follows as hollow as black hole. After having that experience every night for four night straight, dancing till exhaustion, one could only imagine the severity of the crash.
I am not alone. A buddy of mine has been disinterested of dancing since he came back from a trip a couple of months ago. He hasn't gone out as often lately. Whenever he was at the milonga, he hung out most of the time. We have mutual sympathy for each other.
I don't know how long this will last. It is not a plateau or a slump. I am still improving technically. I have been trying to go out and dance. I have had some good tango experience.
But good isn't good enough.
Some asked: " Don't you wish that you haven't had that experience? "
" Better missing it than never had experienced it. " I answered.
I am not alone. A buddy of mine has been disinterested of dancing since he came back from a trip a couple of months ago. He hasn't gone out as often lately. Whenever he was at the milonga, he hung out most of the time. We have mutual sympathy for each other.
I don't know how long this will last. It is not a plateau or a slump. I am still improving technically. I have been trying to go out and dance. I have had some good tango experience.
But good isn't good enough.
Some asked: " Don't you wish that you haven't had that experience? "
" Better missing it than never had experienced it. " I answered.
Friday, September 18, 2009
Que Falta Que Me Haces
Love Calo con Podesta, but haven't danced to this song for while.
J&G
S&R
O&S
S&A
J&G
S&R
O&S
S&A
Tuesday, September 15, 2009
Dance with the stars
So I was at this milonga and witnessed a theatrical scene... to say the least.
One of the local tangueras went to a well known tango "star" and commanded for a dance. After being turned down, according to "first hand" recounting, she threw a fit and berated him with names and something like " you are in my country. You will do what I told you...". Then she slapped him and was countered. She went to ground... and all hell broke loose. She subsequently threw a glass of RED wine to him and a few people sitting with him got some of that... including a teacher I have respect for.
I was dancing a milonga set with a friend of mine on the floor. I passed by the spot, annoyed by the commotion. What I saw was that the woman on the ground, then got up and went after the "star"; the star was refrained by his friends to execute a front kick, no mistakenly a trained martial arts move. I danced away immediately from that spot and only stopped when the commotion grew wilder at another corner.
Well, this post is not about who's right or who's wrong. Nor about discussion of public opinions of this sort of things. So I would delete any comments in that nature. And of course, no names will be revealed publicly, although I suspect the gossip will spread around if it hadn't already.
The post is about dancing with the "stars".
First of all, let me make my position clear: I don't believe in calling or labeling anyone "star" or "deity", let alone "god or goddess.". They are just normal human beings who happen to excel in their profession.
Secondly, it is delusional to think that just because one has danced with and being seen dancing with a "star", that one's tango status has immediately elevated. A "star" dances with regular dancers for many reasons: y0u are a student or a target student, you are the DJ or the organizer, you are an acquaintance or a friend, you are deliciously gorgeous and in a sexy outfit, or in few cases that you are really good dancer...
Thirdly, your "deities" are also human beings. They could get tired, impatient or drunk. Sometimes milonga is the place they relax after a long day of teaching and performing. They surely don't the obligation to dance with anyone whom they don't feel like dancing.
I have been to four festivals this summer and all these festivals were stuffed with who is who in the tango world. Some of the female "stars" were generous to dance with common folks. Yet few of these common folks were really into the dance itself. They rather took the opportunities as a chance to show off their ridiculously shabby skills, pretending to be another "superstar", dragging and flinging the women around. I felt sorry for the "star" whom, sometimes being dragged on the floor, had to endure the torture and couldn't get off the floor quick enough once the music stopped.
I once asked a performer whom happened to be an acquaintance and sometimes would ask me for a dance in local milongas, at a festival milonga. She just performed that night with a well known tango "god". She first told me that she was bit drunk and would like to dance later. I pressured her because a few people (among, one of the godesses in tango world, if you will) were around and my pride got better of my sense. She got up and danced with me. We didn't connect, despite my favorite orchestra was on with my favorite songs. I tried, but she was not there. She could be tired and bit tipsy, or just dance with me because I insisted. Technically, we danced well. But I didn't enjoy it, nor could I imagine she did.
At another festival milonga in a faraway country, I was standing there looking for a partner to dance the Tanturi con Campos tanda. There came a woman standing next to me, coffee in her hand and singing along with song in Spanish. Although I don't often invite woman whom I haven't seen dancing before, I figured if she could sing along, she couldn't be a bad dancer. I caught her eyes and invited her. She was a bit surprised but told me that she could dance with me after she finished the coffee. A guy came by, greeted her and then asked her for a dance. She hesitated for a moment and explained to him that she promised to dance with me. (in Spanish they spoke). The guy apparently insisted so they went to the floor. I found out later that he was the organizer and she was one of the big "stars" who dances with the biggest name in nuevo world. I could have asked her for a dance again in the coming nights, but I didn't. Instead I danced with the regular dancers whom embraced me and gave me a hell of experience that I had never felt before.
I still look to dance with the "stars", not because they are the "stars". It is because some of them are amazing tangueras. I want to dance with them when they truly like to dance with me, that we could mutually enjoy the dance. Just like they enjoy dancing with some of their fellow "stars". (I have also seen them dancing with the fellow "stars" for the sake of just to dance with an acquaitance.)
In the end, for me the ultimate tango experience does not depend on with WHOM I dance. The ultimate tango experience occurs when two open their hearts, embrace each other and share the moments.
One of the local tangueras went to a well known tango "star" and commanded for a dance. After being turned down, according to "first hand" recounting, she threw a fit and berated him with names and something like " you are in my country. You will do what I told you...". Then she slapped him and was countered. She went to ground... and all hell broke loose. She subsequently threw a glass of RED wine to him and a few people sitting with him got some of that... including a teacher I have respect for.
I was dancing a milonga set with a friend of mine on the floor. I passed by the spot, annoyed by the commotion. What I saw was that the woman on the ground, then got up and went after the "star"; the star was refrained by his friends to execute a front kick, no mistakenly a trained martial arts move. I danced away immediately from that spot and only stopped when the commotion grew wilder at another corner.
Well, this post is not about who's right or who's wrong. Nor about discussion of public opinions of this sort of things. So I would delete any comments in that nature. And of course, no names will be revealed publicly, although I suspect the gossip will spread around if it hadn't already.
The post is about dancing with the "stars".
First of all, let me make my position clear: I don't believe in calling or labeling anyone "star" or "deity", let alone "god or goddess.". They are just normal human beings who happen to excel in their profession.
Secondly, it is delusional to think that just because one has danced with and being seen dancing with a "star", that one's tango status has immediately elevated. A "star" dances with regular dancers for many reasons: y0u are a student or a target student, you are the DJ or the organizer, you are an acquaintance or a friend, you are deliciously gorgeous and in a sexy outfit, or in few cases that you are really good dancer...
Thirdly, your "deities" are also human beings. They could get tired, impatient or drunk. Sometimes milonga is the place they relax after a long day of teaching and performing. They surely don't the obligation to dance with anyone whom they don't feel like dancing.
I have been to four festivals this summer and all these festivals were stuffed with who is who in the tango world. Some of the female "stars" were generous to dance with common folks. Yet few of these common folks were really into the dance itself. They rather took the opportunities as a chance to show off their ridiculously shabby skills, pretending to be another "superstar", dragging and flinging the women around. I felt sorry for the "star" whom, sometimes being dragged on the floor, had to endure the torture and couldn't get off the floor quick enough once the music stopped.
I once asked a performer whom happened to be an acquaintance and sometimes would ask me for a dance in local milongas, at a festival milonga. She just performed that night with a well known tango "god". She first told me that she was bit drunk and would like to dance later. I pressured her because a few people (among, one of the godesses in tango world, if you will) were around and my pride got better of my sense. She got up and danced with me. We didn't connect, despite my favorite orchestra was on with my favorite songs. I tried, but she was not there. She could be tired and bit tipsy, or just dance with me because I insisted. Technically, we danced well. But I didn't enjoy it, nor could I imagine she did.
At another festival milonga in a faraway country, I was standing there looking for a partner to dance the Tanturi con Campos tanda. There came a woman standing next to me, coffee in her hand and singing along with song in Spanish. Although I don't often invite woman whom I haven't seen dancing before, I figured if she could sing along, she couldn't be a bad dancer. I caught her eyes and invited her. She was a bit surprised but told me that she could dance with me after she finished the coffee. A guy came by, greeted her and then asked her for a dance. She hesitated for a moment and explained to him that she promised to dance with me. (in Spanish they spoke). The guy apparently insisted so they went to the floor. I found out later that he was the organizer and she was one of the big "stars" who dances with the biggest name in nuevo world. I could have asked her for a dance again in the coming nights, but I didn't. Instead I danced with the regular dancers whom embraced me and gave me a hell of experience that I had never felt before.
I still look to dance with the "stars", not because they are the "stars". It is because some of them are amazing tangueras. I want to dance with them when they truly like to dance with me, that we could mutually enjoy the dance. Just like they enjoy dancing with some of their fellow "stars". (I have also seen them dancing with the fellow "stars" for the sake of just to dance with an acquaitance.)
In the end, for me the ultimate tango experience does not depend on with WHOM I dance. The ultimate tango experience occurs when two open their hearts, embrace each other and share the moments.
Monday, August 31, 2009
Non-Argentine Tango Salon Champ.
The tango blog topic of the week is probably a Japanese couple won the Tango Salon category. I didn't follow this year's competition on youtube. I was busy dancing my heart out. Nonetheless it was quite a news that for the first time in the history, a non-Argentine couple won the Salon category.
And it is interesting to know that Yamao scored top position at Rondas Clasifications, and second place at Semifinales. There wasn't a surprise that they won the final, because they were the only couple in top 5 position in both rounds. They had been consistent with their performance.
I also noted that a Russian couple scored the second at Rondas Clasifications and seven at Semi. Out of the top 15 at Semi there were six international couples, four representing Japan, one Russia and another Chile. 40% non Argentine...Bravo to that!!!
A few months ago, I posted a few clips of Asian tanguero(a)s dancing on my private blog. I commented that traditional Salon Tango was very popular in Asia; judged from the teachers whom were invited to their festivals and workshops, the posture and walk and of course the embrace that dancers showed. I've danced with quite a few good to great Asian tangueras. I was impressed by their clean footwork, good energy and nice embrace. Most of them had spent months in BsAs, learning and dancing. Although in Asia, Tango has the shortest history, Yamao's winning of Salon proved that whoever said only Argentine knew how to dance tango was shortsighted.
Hard work, dedication and smartness can make up the shortcoming of language and culture difference. And I am not surprised that the Russian will win one in the future.
Wednesday, August 26, 2009
Lovely milonga
I like and respect this couple more and more. Took their workshop at Baltimore Tango Element. Watched their performances at Moscow Milonguero Nights. Impressed by their professionalism and brilliance.
Hope you enjoy the above milonga as much as I did.
Tuesday, August 25, 2009
Amazing...
If there were a tango nirvana in this world, I am sure I had been in it the last four days. Packed in some sightseeing around Moscow during daytime, I had been in the milonga till 6am every day except the first night. Body is tired, limps are sore, neck stiff... but my spirit is still high. The whole festival was full of new discovery, new friendship and new high of tango experience.
Quite a few tandas that I had danced, I'd experienced this indescribable, unprecedented and overwhelmingly strong sensation that I wanted to cry and scream. Two nights in a row, I had four tandas with two great dancers in the beginning of the night. After those four tandas, I was so physically and emotionally drained that I didn't get a second wind till 2 hours later.
I had certain expectation when I left for the festival. What I had experienced was ten times better. Some moments were really magical and unforgettable.
That's it, the highlight of my summer of tango, the festival of all festivals.
What's next, I wonder...
Quite a few tandas that I had danced, I'd experienced this indescribable, unprecedented and overwhelmingly strong sensation that I wanted to cry and scream. Two nights in a row, I had four tandas with two great dancers in the beginning of the night. After those four tandas, I was so physically and emotionally drained that I didn't get a second wind till 2 hours later.
I had certain expectation when I left for the festival. What I had experienced was ten times better. Some moments were really magical and unforgettable.
That's it, the highlight of my summer of tango, the festival of all festivals.
What's next, I wonder...
Thursday, August 13, 2009
Summer of 2009
Turns out to be a summer of tango festival for me. The next one, most likely the last one for the summer, Moscow Milonguero night is only six days away.
I am truly enjoying all the festivals I've gone to so far. A few reasons:
1) The festivals that I chose had great lineup of teachers, which attracted good attendances.
2) The places that the festivals were held were cities that I'd not visited, except Baltimore. I enjoyed visiting Roma as a tourist and spending half day at the Taste of Chicago at Millennium Park in Chicago.
3) I felt I was benefited from the workshops that I attended with all the masters. There was truly something to learn from everyone. I've been focusing on improving my milonga. The workshops with Julio y Corina and Sebastian y Mariana had opened my eyes. I am sure whatever I've taken in would help me down the road, in a few months from now. Just like things I'd learned over a year ago, they are much more clearer to me now.
4) Part of the fun of going to festival is to make friends, whom share the same addiction; and to see old friends. It was always a pleasant surprise to see some one you know showing up at the same festival. A big and long hug, kisses on the cheeks, it warmed the hearts. And it was nice to dance with them and feel the difference after all these times, most of them had improved and the dance experiences were felt much better. Tango people are mostly NOT CLIQUE. If you open yourself up and try to make friends, you will see that this is a big happy family...
Traveling around the world dancing tango is quite a tough job. And I am serious!!! The jet lag, the long line and the run around at the airports, the change of diet, the lack of sleep, the never waning anxiety, and on the top of them, five to eight hours dancing a day... it is quite physically challenging and it takes toll on the body.
That's why I am recuperating from the Baltimore Tango Element, which by the way was very good. Try to recondition my body, stretching, light exercising, good diet... After all, it is going to be four incredible days, probably the highlight of the summer, the festival of all festivals that I've gone to.
And my dance card is filling up quickly even before the festival (thanks to facebook)... I will let you know how it goes. I can't tell you how excited I am, how much I look forward to it.
The summer of 2009 turns out to be the second highlight on my tango journey, other than my trips to the Mecca.
Wednesday, August 5, 2009
Stop dancing with them
Ms. Hedgehog's recent post inspired me to repost this with a few changes:
I was at this practica DJing. There went this old guy and a young beginner, dancing right in front of me. The guy was 6' tall and over 200 lbs; and the poor girl was like 5"6 with heels on, no more than 110 lbs. Beauty and the beast at the first sight.
What went on made me frowned: he was throwing her around, taking her off balance and forcing different nuevo/stage moves which clearly beyond the physical capabilities of both. (Why a sixty year old, who has no apparent dance background or the physicality of a fit man, would practice off axis volcada lead or anything that is off axis, is beyond my comprehension, although none of my business.) A few times, I thought the girl was about to twist her ankles or have a broken arm.
Yet the girl went on to dance two tandas with the old man. I was amazed... at her ability of enduring such a torture for over twenty minutes. Maybe it didn't hurt or feel uncomfortable as much as it appeared to me.
A couple of nights after, I was at my regular milonga dancing. All of sudden, there was this commotion that made everyone stop dancing. Some one was on the floor. Men were arguing. Instantly I knew whose fault it was.
This guy has been dancing for a long time, longer than I have. I had seen him dancing. He could dance nicely. Somehow he choosed to open up and do crazy stuffs all the time, crowded floor or not. I was following him one tanda. His movement was big and unpredictable. I had to be on constant alert. At one time, I elbowed him lightly when he almost backstepped into me. Enough was enough.
I was told later that the woman was tripped by this guy's partner. He must lead her doing some crazy stage/nuevo moves, as usual.
That got me thinking: so many women complaining men/bad dancers, yet these men are still getting dances from women. What's wrong with this picture? If you don't enjoy dancing with certain people, while keep dancing with them. Have you learned how to spot a bad dancer on the floor?
Do women get so desperate that they jump at every invitation that goes their way? I don't get it...
I don't invite women whom were seen dancing with bad dancers* frequently. And most of the time, these women get stuck with the same type of dancers. Bad by association. Good dancers look for good dancers to dance with. Besides, if you constantly dance with dancers whom have bad postures and inferior techniques, you develop bad habits unconsciously.
I was going to ask the aforementioned beginner to practice walking, show her how to embrace. But after one tanda and she still stayed with the old guy, I lost my interest and enthusiasm. She needed to learn by herself, how to say no, how to look for good dancers, sometimes the hard way.
I like to help beginner, intermediate or even some advanced dancers to improve or correct certain things in their dance. I don't do it actively unless I am asked. I rarely offer advices voluntarily unless I know the person very well. There are a lot of ego and self esteem among. For those who are eager to learn and to improve, I do like to offer them my hands without reservation.
Beginner and intermediate dancers have to make choice between not dancing and dancing with bad dancers. Remember: bad dancers are around because they are dancing. Some one is dancing with them. If you are that someone, then you shouldn't be complaining...
(* Bad dancers= those who have been dancers for years yet have no idea of how to navigate the floor, how to dance small and dance for each other and how to follow the line of dance...)
I was at this practica DJing. There went this old guy and a young beginner, dancing right in front of me. The guy was 6' tall and over 200 lbs; and the poor girl was like 5"6 with heels on, no more than 110 lbs. Beauty and the beast at the first sight.
What went on made me frowned: he was throwing her around, taking her off balance and forcing different nuevo/stage moves which clearly beyond the physical capabilities of both. (Why a sixty year old, who has no apparent dance background or the physicality of a fit man, would practice off axis volcada lead or anything that is off axis, is beyond my comprehension, although none of my business.) A few times, I thought the girl was about to twist her ankles or have a broken arm.
Yet the girl went on to dance two tandas with the old man. I was amazed... at her ability of enduring such a torture for over twenty minutes. Maybe it didn't hurt or feel uncomfortable as much as it appeared to me.
A couple of nights after, I was at my regular milonga dancing. All of sudden, there was this commotion that made everyone stop dancing. Some one was on the floor. Men were arguing. Instantly I knew whose fault it was.
This guy has been dancing for a long time, longer than I have. I had seen him dancing. He could dance nicely. Somehow he choosed to open up and do crazy stuffs all the time, crowded floor or not. I was following him one tanda. His movement was big and unpredictable. I had to be on constant alert. At one time, I elbowed him lightly when he almost backstepped into me. Enough was enough.
I was told later that the woman was tripped by this guy's partner. He must lead her doing some crazy stage/nuevo moves, as usual.
That got me thinking: so many women complaining men/bad dancers, yet these men are still getting dances from women. What's wrong with this picture? If you don't enjoy dancing with certain people, while keep dancing with them. Have you learned how to spot a bad dancer on the floor?
Do women get so desperate that they jump at every invitation that goes their way? I don't get it...
I don't invite women whom were seen dancing with bad dancers* frequently. And most of the time, these women get stuck with the same type of dancers. Bad by association. Good dancers look for good dancers to dance with. Besides, if you constantly dance with dancers whom have bad postures and inferior techniques, you develop bad habits unconsciously.
I was going to ask the aforementioned beginner to practice walking, show her how to embrace. But after one tanda and she still stayed with the old guy, I lost my interest and enthusiasm. She needed to learn by herself, how to say no, how to look for good dancers, sometimes the hard way.
I like to help beginner, intermediate or even some advanced dancers to improve or correct certain things in their dance. I don't do it actively unless I am asked. I rarely offer advices voluntarily unless I know the person very well. There are a lot of ego and self esteem among. For those who are eager to learn and to improve, I do like to offer them my hands without reservation.
Beginner and intermediate dancers have to make choice between not dancing and dancing with bad dancers. Remember: bad dancers are around because they are dancing. Some one is dancing with them. If you are that someone, then you shouldn't be complaining...
(* Bad dancers= those who have been dancers for years yet have no idea of how to navigate the floor, how to dance small and dance for each other and how to follow the line of dance...)
Tuesday, August 4, 2009
Wednesday, July 29, 2009
"The most important dance is...
... the one that happens inside us."
I stole this title from a lovely and beautiful tango friend of mine. I've meant to write something about this for a long time. Words had escaped me.
A few months ago, I was in my worst tango slump. My favorite music didn't inspire me. I was on auto pilot most of the time, doing just steps. I felt I was repeating the same steps/sequences over and over again, and with the same partner. The energy was flat and I rushed to chase the music. I felt bored of myself for not being creative. I thought I didn't know how to dance any more. Some told me that I'd reached a plateau. I felt I was regressing.
I went for a private lesson with my first tango teacher.
"There is nothing wrong with your dance. Your technique is good, walk is nice, embrace is comfortable, and very musical..." She said to me, after danced a song or two. " What's wrong is up here. " She pointed to my head, jokingly.
"I had been there before. I understand. You need to forget about having the perfect technique, posture and steps. Try to find the tango within when you dance..." Break the mode. "and take your time, like tasting wine, sip it...like tasting chocolate, let it melting in your mouth."
Find the tango within...I chewed on it.
The next few weeks, every time I stepped onto the piso, I took a moment and looked inside. It was like a self meditation (or inner gaze). What moved me? Was it the woman whom I was about to embrace, the music or the energy of the place? I tried to find my own presence before I embraced the woman.
Then something magical and powerful happened. The connection was amazing. When I danced with beginner/intermediate level women, I felt that they were calm and following well. With good dancers, I felt like I was into their minds (hypnotized them) and their feet doing what I suggested. When I had the pleasure to dance with great women, I felt completely free, like they say, one body four feet.
I didn't think about how to move or what steps to take any more. Like Pedro said, just listen to the music, it tells you how to dance. I let the music and the woman inspire me. From time to time, I was pleasantly surprised by myself from the move or steps I did with music, sometimes things that I had never done before...
These days, I dance much less, two or three tandas a night, once or twice a week. If I don't find an inspiring partner in the milonga, I just sit and listen to the music. When I do dance, I rarely feel unsatisfied afterward.
"I am more interested in what moves people, than how they move." Pina Bausch
I stole this title from a lovely and beautiful tango friend of mine. I've meant to write something about this for a long time. Words had escaped me.
A few months ago, I was in my worst tango slump. My favorite music didn't inspire me. I was on auto pilot most of the time, doing just steps. I felt I was repeating the same steps/sequences over and over again, and with the same partner. The energy was flat and I rushed to chase the music. I felt bored of myself for not being creative. I thought I didn't know how to dance any more. Some told me that I'd reached a plateau. I felt I was regressing.
I went for a private lesson with my first tango teacher.
"There is nothing wrong with your dance. Your technique is good, walk is nice, embrace is comfortable, and very musical..." She said to me, after danced a song or two. " What's wrong is up here. " She pointed to my head, jokingly.
"I had been there before. I understand. You need to forget about having the perfect technique, posture and steps. Try to find the tango within when you dance..." Break the mode. "and take your time, like tasting wine, sip it...like tasting chocolate, let it melting in your mouth."
Find the tango within...I chewed on it.
The next few weeks, every time I stepped onto the piso, I took a moment and looked inside. It was like a self meditation (or inner gaze). What moved me? Was it the woman whom I was about to embrace, the music or the energy of the place? I tried to find my own presence before I embraced the woman.
Then something magical and powerful happened. The connection was amazing. When I danced with beginner/intermediate level women, I felt that they were calm and following well. With good dancers, I felt like I was into their minds (hypnotized them) and their feet doing what I suggested. When I had the pleasure to dance with great women, I felt completely free, like they say, one body four feet.
I didn't think about how to move or what steps to take any more. Like Pedro said, just listen to the music, it tells you how to dance. I let the music and the woman inspire me. From time to time, I was pleasantly surprised by myself from the move or steps I did with music, sometimes things that I had never done before...
These days, I dance much less, two or three tandas a night, once or twice a week. If I don't find an inspiring partner in the milonga, I just sit and listen to the music. When I do dance, I rarely feel unsatisfied afterward.
"I am more interested in what moves people, than how they move." Pina Bausch
(posted by my first teacher when Ms.Bausch passed away not long ago)
Wednesday, July 22, 2009
Being turned down.
There are so many reasons for a woman to turn down an invitation. I used to ponder and speculate them after being turned down. Then I realized I was wasting my time and energy.
What's the big deal? Look for those whom are looking for you. Go find the woman whom is willing to be in my embrace rather than wonder why this one doesn't want to. And these days, I rarely get turned down because:
Still, I get ticked off by this rejection: a woman turns me down by saying that she is tired and needs a rest. OK, fine and understandable. But the next song, she gets up right in front of my face and accepts an invitation from another man.
This, in my book of tango etiquette, is the biggest offender.
For sure, she will not be getting another look from me as long as I remember this episode. Not that she cares, Nor I.
What's the big deal? Look for those whom are looking for you. Go find the woman whom is willing to be in my embrace rather than wonder why this one doesn't want to. And these days, I rarely get turned down because:
a.) I adhere to cabeceo when I am in a festival.
b.) I am contented to have a great tanda a night, rather than take a risk to have ten mediocre ones.
c.) I am an excellent social dancer. Shameless brag yet it is true... haha.
Still, I get ticked off by this rejection: a woman turns me down by saying that she is tired and needs a rest. OK, fine and understandable. But the next song, she gets up right in front of my face and accepts an invitation from another man.
This, in my book of tango etiquette, is the biggest offender.
For sure, she will not be getting another look from me as long as I remember this episode. Not that she cares, Nor I.
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